Vital Crises in Italian Cinema: Iconography, Stylistics, PoliticsOxford University Press, 01/03/2013 - 288 من الصفحات Examining the landmark works that ushered in Italy's golden age of cinema, P. Adams Sitney provides a stylish, historically rich survey of the epochal films made by Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Federico Fellini, Michelangelo Antonioni, and others in the years after World War II. Remarking on the period in 1957, Pier Paolo Pasolini wrote that its films reflected a "vital crisis" in Italian culture after the fall of Fascism. Sitney expands this conceit to demonstrate the multivalent social and political forces behind a range of movies made from the mid-1940s through the1960s that includes Paisa, La terra trema, Ladri di biciclette, L'Avventura, and La dolce vita. Throughout its pages, the book considers how the nation's cinema depicts the convergence of Christian and Resistance iconography; contemplates the debate over dialect and a national language; deploys cinematic effects for the purposes of political allegory; and incorporates insights from the psychoanalytic discourse that became popular in Italy during the fifties and sixties. This new edition includes an epilogue that extends the range of the study into the 1970s with discussions of Nanni Moretti's Io sono autaurchico, the Tavianis' Padre Padrone, and Ermanno Olmi's L'albero degli zoccoli. |
من داخل الكتاب
النتائج 1-5 من 19
الصفحة 6
... Miracolo a Milano (Miracle in Milan, 1951) must have looked, and indeed continue to look, against the comparative background of the best American films of their years, their striking originality seems even more impressive—1945: They ...
... Miracolo a Milano (Miracle in Milan, 1951) must have looked, and indeed continue to look, against the comparative background of the best American films of their years, their striking originality seems even more impressive—1945: They ...
الصفحة 9
... Miracolo a Milano are, strictly speaking, literary adaptations—La terra trema has a complex relationship to Verga's I Malavoglia (The House by the Medlar Tree), as is well known and widely discussed, while the relationship of ...
... Miracolo a Milano are, strictly speaking, literary adaptations—La terra trema has a complex relationship to Verga's I Malavoglia (The House by the Medlar Tree), as is well known and widely discussed, while the relationship of ...
الصفحة 10
... Miracolo a Milano in a single episode. Whenever possible I have been guided by critical discussions from the given period in linking writers and filmmakers or highlighting debates cogent to both arts. I also make liberal use of ...
... Miracolo a Milano in a single episode. Whenever possible I have been guided by critical discussions from the given period in linking writers and filmmakers or highlighting debates cogent to both arts. I also make liberal use of ...
الصفحة 13
... Miracolo a Milano is a version of the Holy Ghost, while the brand name of the bicycle in Ladri di biciclette, “Fides,” identifies it as a symbolical instrument, much as the labels in medieval paintings identify symbols. (In a later film ...
... Miracolo a Milano is a version of the Holy Ghost, while the brand name of the bicycle in Ladri di biciclette, “Fides,” identifies it as a symbolical instrument, much as the labels in medieval paintings identify symbols. (In a later film ...
الصفحة 14
... Miracolo a Milano and Uccellacci e uccellini could be called allegories in the strict sense of the term, this tendency of mine is often abetted by structural coordinates of the films: the paratactic, episodic organization of Paisà or La ...
... Miracolo a Milano and Uccellacci e uccellini could be called allegories in the strict sense of the term, this tendency of mine is often abetted by structural coordinates of the films: the paratactic, episodic organization of Paisà or La ...
المحتوى
3 | |
27 | |
The National Language Dialect and the Southern Question | 55 |
4 De Sicas and Zavattinis Neopopulism | 75 |
5 Between the Vital Crises | 97 |
6 Annus Mirabilis | 105 |
Illustrations | 132 |
7 Antonionis Psychoanalysis of the Boom | 137 |
Pasolini Olmi Rosi | 163 |
9 Conclusion | 195 |
Pastoral Education in Language and Politics | 207 |
Notes | 237 |
Index | 249 |
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عبارات ومصطلحات مألوفة
Accattone allusion American Antonioni becomes camera Christian cinema italiano città aperta Communist critical culture Dantean death deserto rosso dialect dolce vita dramatic economic miracle episode erotic fantasy Fascist father Fellini film’s filmmakers final free indirect discourse Gavino gesture Giovanni historical iconographic Il deserto rosso Italian cinema Italian films Italy L’avventura L’eclisse La dolce vita La terra trema Ladri di biciclette landscape language Ledda Lidia Liliana literary Marcello Milan Miracolo a Milano montage moral Nadia narrative neorealism Ninetto novel Ntoni Olmi Olmi’s opening Padre Padrone Paisà partisan party Pier Paolo Pasolini Piero play police political postwar prostitute protagonist Resistance Ricci Roma Roman Rome Rosi’s Rossellini Salvatore Giuliano Sandro scene Sciuscià script sequence sexual shot Sica Sica’s Sicilian Sicily Simone social story stylistic Tavianis terra trema tion Totò turns Uccellacci e uccellini uccellini Umberto Valastro Verga viewer Visconti Vittoria woman Zavattini